I have never experienced the apparently widespread phenomenon of being in a theater full of people who applaud the end of a film (at least not in a regularly scheduled film, as it has been known to happen at Weird Wednesdays and Terror Tuesdays, or when the director is in attendance), but I got my first taste of this peculiarity yesterday when Little Women concluded. Perhaps it is because I rarely find myself viewing a period piece at 1:15 on a Saturday afternoon and thus am almost never the youngest person in an auditorium by 30 years. I did expect that this might be the case, and I’ve certainly been in my fair share of screenings in which someone fell asleep, but this was definitely the first time I could hear someone snoring during the trailers (the same poor soul likewise dozed off again about an hour in, judging by the identical sounds). This is not indicative of the quality of Greta Gerwig’s latest, however; this movie is fantastic.
“For Dani, it is a wish fulfillment fantasy. A fairy tale.”
About a week after seeing Midsommar, the friend with whom I attended a screening featuring a post-film Q&A with director Ari Aster turned to me as we were hanging out and asked, “Boomer, did you actually like Midsommar?” And I replied, “Yeah, of course I did. Didn’t you?” To which he responded, “I’m not sure. I think that Q&A kinda ruined it for me.” And I have to admit, as soon as the film ended, I was fully ready to do my write-up, only for my excitement to dwindle as Aster and Alamo Drafthouse founder Tim League swirled mostly-empty rocks glasses and chuckled. At first, I was mostly concerned for Aster’s feelings (I’m a softie like that); when I saw Hereditary, there wasn’t a single guffaw or chuckle from the audience with whom I sat in the dark and partook in a somber meditation on grief (at least until the very end, but I’ll circle back around to that), but in the sold-out audience for Midsommar, there were laughs within the first 5 minutes, leading to out-and-out peals of laughter until the film’s closing moments. I worried that Aster would hear this reaction and determine that we were a theater filled with bumpkins and deviants–and not the fun kind–who didn’t appreciate his work.
Look, up in the sky! It’s Zachary Levi, and he’s buff as hell! And we’re all calling him “Shazam” instead of “Captain Marvel,” for reasons that were complicated for a long time and are even more complex now. Great!
SHAZAM! is a whole hell of a lot of fun, a modern day kid’s wish fulfillment film that harkens back to a time when it was still possible for such a thing to be dark, vulgar, and tongue-in-cheek. This is a movie in which 14-year-olds are bullied for being different, catastrophic car accidents are presented in brutal detail and have life-altering consequences, kids are interested in strip clubs despite the preponderance of internet porn, giant demon monsters bite adult heads off and capture children, and one of the first things that two underage teenage boys elect to do upon realizing that one of them appears to be an adult is buy beer. Which is not to say that there’s not a lot of sentiment here as well, though it manages to avoid being cloying for the most part, and even I was surprised at how much it was able to manipulate my emotions – I mean “move me” – in its emotional moments. It has a lot of heart, is what I’m saying, but manages to avoid getting treacly by balancing its emotionality with good jokes and the occasional supernatural murder.
When we last saw Belial and Duane (Kevin Van Hentenryck), they had fallen to their presumed deaths, but as Basket Case 2 opens, we learn that they survived their fall and are now semi-famous as the “Times Square Killer Twins.” After a brief interlude at the hospital to which the two were taken, they are collected by the kindly Granny Ruth (Annie Ross) and her lovely granddaughter Susan (Heather Rattray), who whisk the two back to Ruth’s home, a Staten Island mansion that the older woman has set up as a home for “unique individuals” like Belial, where they can live out their lives in peace, away from the prying eyes of society. These include such various freaks as Platehead, Half Moon (who looks a bit like Mac Tonight), Huge Arthur, and Frog Boy (played by none other than Tom Franco–yes, of those Francos). Belial takes to this new situation pretty quickly, even meeting a lady Belial named Eve (yes, they eventually hook up, and yes, we get to see every excruciatingly gross and hilarious moment of it), while Duane immediately falls for Susan, seeing in her the chance for a normal life that he could have now that he and Belial have finished exacting vengeance upon the doctors who originally separated them. It seems like the Bradley Brothers may have finally found peace… except that Marcie (Kathryn Meisle), a sleazy reporter for the tabloid Judge & Jury, is hot on their trail, with the backing of her editor Lou (Jason Evers) and the help of private gumshoe Phil (Ted Sorel). Before the boys can get their happily ever after, they have to make sure there are no more breadcrumbs that could lead the outside world to their new home.
When Jazmin Moreno, the programmer for Austin Film Society Cinema’s “Lates” series (“the new cult film canon”) introduced the recent, sold-out screening of Andrzej Żuławski’s Na srebrnym globie (On the Silver Globe), she said that, if you were so fortunate as to have seen the film before its 2016 restoration by original director of photography Andrzej Jaroszewicz, you likely only saw a heavily yellowed print and not in a complete translation. To be honest, I’m not sure that I’ve seen it translated now. Part of the reason for the perceived incomprehensibility of the piece is that it’s unfinished, but given what extant footage remains, I doubt that the film would have become a success even if the director had been permitted to finish it. But we’re getting ahead of ourselves.
Not since Queen of Versailles have I taken so much delight in watching rich people having a hard time. Watching a bunch of “influencers” (gag – Alice Sheldon tried to warn us and we just didn’t listen) who were willing and able to drop more than a middle class person’s annual salary just for the opportunity to party with models and Blink 182 forced to retrieve their luggage from huge trucks and rush in a panicked herd to try and claim disaster tents made me laugh for five minutes straight.
Ok, let’s back up. Fyre Festival was the brainchild of Billy McFarland, a twentysomething college dropout from an affluent unincorporated neighborhood in New Jersey who managed to accidentally pull off the greatest catalyst of schadenfreude of the new millennium through nothing other than sheer self-delusion.
Wait, let’s try again.
Last year when I was putting together my list for the Best of 2017, I lamented that my roommate’s phone dying prevented us from seeing The Square during its all-too-brief run in Austin. While searching for something to watch this past weekend, we discovered that it’s finally found its way to Hulu, and we were overjoyed! Although there was some hemming and hawing about its 151 minute run time (especially as we had watched the 141 minute Bad Times at the El Royale earlier that same day), this was definitely worth the wait.
The RedLetterMedia boys launched a new series on their youtube channel last year called Re:View, in which they discuss films that hold a special significance for them. One of the episodes I had overlooked on its original upload was their discussion of True Stories, David Byrne’s 1986 film that he wrote, produced, and directed (unlike Adulterers, this turned out to be a good thing) as well as starred in. It’s a forgotten gem, even among Talking Heads and David Byrne fans, despite being the origin of one of their hits, “Wild Wild Life,” as well as being the first major role for John Goodman and also featuring Spalding Gray and Swoosie Kurtz. I was instantly taken with the idea and searched for the movie online in the hopes of finding a cheap copy of the out of print DVD, only to discover that the Alamo Drafthouse was going to be screening it only a couple of weeks later, as part of its Essential Texas Film series. I bought tickets faster than you can say “this is not my beautiful wife.”
More than once in the past week, my roommate has asked me what I was going to be doing this past weekend, and I said I was going to see Annihilation, and each time he asked “What’s that?”, to which I replied “The adaptation of the book that your sister gave me for Christmas in 2016.” Which she did! And I loved it! So much so that I couldn’t stop talking about it, and another friend got me the follow up novel Authority for my birthday a few months later, and I bought my own copy of Acceptance almost immediately after and finished that too. I was so excited when I heard that Alex Garland of Ex Machina fame would be directing the film of the book, and that the person I cast in my head as the biologist, Natalie Portman, would be playing the lead. Of course, there are valid concerns about the whitewashing of her character given that she’s part Asian (no specific nation of origin is given), but it’s also a piece of information that the reader doesn’t get until the second book, which had not been published at the time that Garland read Annihilation and started working on his script. If you’re curious, I imagined Angela Bassett as the psychologist, Michelle Rodriguez as the surveyor (a character who’s aggression and distrust was put on the paramedic character in the film but had a role on the team that was more like Novotny’s character’s) and Battlestar Galactica‘s Grace Park as the anthropologist (a character that is, for all intents and purposes, absent from the film). Those absences, changes, and additions should give you some indication of how far this film strays from Jeff VanderMeer’s novel, but does that matter?
When watching The Fury, one gets the distinct feeling that it’s an adaptation of a Stephen King novel that King never wrote. This is perhaps unfair to novelist John Farris, given the width and breadth of his large body of work, which predates King’s. Then again, if you take a look at his Wikipedia page, The Fury is his only novel that actually has its own page; prolific though he may be, one must wonder whether or not his prose has much staying power. There are certain trappings that make The Fury feel like a King work, not the least of which is having Brian De Palma at the helm, just two years after he directed the first King adaptation with 1976’s Carrie (and a year before the second, Tobe Hooper’s made-for-TV Salem’s Lot). The film also features mysterious agents working for an unnamed government agency that is similar to the role played by The Shop in King’s works, Firestarter most notable among them; the paternal relationship that forms one of the movie’s emotional cores likewise echoes, or rather presages, that of Charlie and her father in that novel.